VIDEO: Check Out Danny Glover In Turkish Film, “Five Minarets In New York” > Shadow And Act

Check Out Danny Glover In Turkish Film, “Five Minarets In New York”

Just popped up on the iTunes movie trailers site. Saw Danny Glover’s face, and, naturally, had to click on it to learn more.

It’s a bi-continental film, written and directed by Mahsun Kırmızıgül.

Synopsis: The leader of a radical Islamic organization, Anti Christ, based in Turkey, who is heavily sought by Interpol, is reported to have been taken into custody in the USA. In order to fetch the convict, the two most capable policemen in the Turkish Police Department are sent to the states.

And then all hell breaks lose, it seems.

The story taking place in Istanbul and New York, and “challenges… America’s paranoia with the Islamic world after 9/11.

IMDB lists a release date of November 5th in Turkey; nothing stateside however. I doubt this will see theaters; likely a straight-to-dvd/VOD release.

Trailer below:

 

 

INFO: Postcards from the Revolution: Washington increases Clandestine Ops against Venezuela

Washington increases Clandestine Ops against Venezuela

 

 

By Eva Golinger

Millions of dollars are being channeled to opposition groups in Venezuela via USAID, while the Pentagon has established a new PSYOP program directed at Venezuela, including a “5-day a week television program in Spanish broadcast in Venezuela” during 2011

The 2010 annual report of the Office of Transition Initiatives (OTI), a division of the US Agency for International Development (USAID), regarding its operations in Venezuela, evidences that at least $9.29 million USD was invested this year in efforts to “support US foreign policy objectives…and promote democracy” in the South American nation. This amount represents an increase of almost $2 million over last year’s $7.45 million distributed through this office to fund anti-Chávez political activities in the country.

The OTI is a department of USAID dedicated to “supporting US foreign policy objectives by helping local partners advance democracy in priority countries in crisis. OTI works on the ground to provide, fast, flexible short-term assistance targeted at key political transition and stabilization needs”.

Although OTI is traditionally used as a “short-term” strategy to filter millions of dollars in liquid funds to political groups and activities that promote US agenda in strategically important nations, the case of Venezuela has been different. OTI opened its office in 2002, right after the failed coup d’etat against President Hugo Chavez - backed by Washington - and has remained ever since. The OTI in Venezuela is the longest standing office of this type in USAID’s history.

OTI’S CLANDESTINE OPS

In a confidencial memo dated January 22, 2002, Russell Porter, head of OTI, revealed how and why USAID set up shop in Venezuela. “OTI was asked to consider a program in Venezuela by the State Department’s Office of Andean Affairs on January 4…OTI was asked if it could offer programs and assistance in order to strengthen the democratic elements that are under increasing fire from the Chavez government”.

Porter visited Venezuela on January 18, 2002 and then commented, “For democracy to have any chance of being preserved, immediate support is needed for independent media and the civil society sector…One of the large weaknesses in Venezuela is the lack of a vibrant civil society…The National Endowment for Democracy (NED) has a $900,000 program in Venezuela that works with NDI, IRI and the Solidarity Center to strengthen political parties and the Unions…This program is useful, but not nearly sufficient. It is not flexible enough, nor does it work with enough new or non-traditional groups. It also lacks a media component”.

Since then OTI has been present in Venezuela, channeling millions of dollars each year to feed the political conflict in the country. According to the 2010 annual report, OTI is now operating “out of the US Embassy and is part of a larger US diplomatic effort to promote democracy in Venezuela”.

The principal investment of the $9.29 million in US taxpayer dollars in 2010 went to the opposition’s campaign for the legislative elections, held last September 26 in Venezuela. “USAID works with several implementing partners drawn from the spectrum of civil society…offering technical assistance to political parties…and supporting efforts to strengthen civil society”.
In Venezuela, it’s widely known that the term “civil society” refers to the anti-Chavez opposition.

A SECRET FLOW OF FUNDS

Despite revealing its overall budget, the actual flow of funds from USAID/OTI to groups in Venezuela remains secret. When OTI opened its offices in 2002, it contracted a private US company, Development Alternatives Inc (DAI), one of the State Department’s largest contractors worldwide. DAI ran an office out of El Rosal – the Wall Street of Caracas – distributing millions of dollars annually in “small grants of no more than $100,000” to hundreds of mainly unknown Venezuelan “organizations”.
From 2002 to 2010, more than 600 of these “small grants” were channeled out of DAI’s office to anti-Chavez groups, journalists and private, opposition media campaigns.

In December 2009, DAI began to have severe problems with its operations in Afghanistan, when five of its employees were killed by alleged Taliban militants during an attack on their office December 15 in Gardez. Just days earlier, another DAI “employee”, Alan Gross, had been detained in Cuba and accused of subversion for illegally distributing advanced satellite equipment to dissidents.

When an article written by this author titled “CIA Agents assassinated in Afghanistan worked for "contractor" active in Venezuela, Cuba”, published December 30, 2009 on the web, evidenced the link between DAI’s operations in Afghanistan, Cuba and Venezuela, and their suspicious nature, the CEO of DAI, Jim Boomgard, was alarmed. Days later, he attempted to coerce me into a private meeting in Washington to “discuss” my article. When I refused, he threatened me by claiming that my writing was “placing all DAI employees worldwide in danger”. In other words, if anything happened to DAI employees, I would be personalIy responsible.
But Boomgard, who claimed little knowledge of his company’s operations in Venezuela, understood that what DAI was doing in Venezuela was nowhere near as important (to his company) as what DAI was doing in Afghanistan and other countries in conflict. Weeks later, DAI abruptly closed its office in Caracas.

Nonetheless, OTI continues its operations in Venezuela, and although it has other US “partners” managing a portion of its annual multimillion-dollar budget, such as IRI, NDI, Freedom House and the Pan American Development Foundation (PADF), there is zero transparency regarding funding to Venezuelan groups.

A report published in May 2010 by the Spanish think tank FRIDE assessing “democracy assistance” to Venezuela revealed that a significant part of the more than $50 million annually in political funding from international agencies to anti-Chavez groups in Venezuela was entering illicitly. According to the report, in order to avoid Venezuela’s strict “currency control laws”, US and European agencies bring the monies in dollars or euros into the country and then change them on the black market to increase value. This method also avoids leaving a financial record or trace of the funds coming in to illegally finance political activities.

If DAI is no longer operating in Venezuela and distributing “small grants” to Venezuelan groups, then how are USAID’s multimillion-dollar funds reaching their recipients? According to USAID, they now operate from the US Embassy. Is the US Embassy illegally dishing out funds directly to Venezuelans?

OTI’s 2010 report also reveals the agency’s ongoing intentions to continue supporting and funding Venezuelan counterparts. In the section marked “Upcoming Events”, OTI makes clear where energies will be directed, “December 2012 – Presidential elections”.

PSYCHOLOGICAL OPERATIONS

USAID isn’t the only US agency intervening in Venezuela’s affairs. In the Pentagon’s 2011 budget, a new request for a “psychological operations program” for the Southern Command (USSOUTHCOM), which coordinates all US military missions in Latin America, is included. Specifically, the request refers to the establishment of a “PSYOP voice program for USSOUTHCOM”.

PYSOP are, “planned operations to convey selected information and indicators to foreign audiences to influence their emotions, motives, objective reasoning, and ultimately the behavior of foreign governments, organizations, groups and individuals. The execution of PSYOP includes conducting research on various foreign audiences; developing, producing and disseminating products to influence these audiences; and conducting evaluations to determine the effectiveness of the PSYOP activities. These activities may include the management of various websites and monitoring print and electronic media”. Or, as the 2011 request indicates, running a radio or audio program into a foreign nation to promote US agenda.

USSOUTHCOM’s new PSYOP program in Latin America will complement a new State Department initiative run out of the Board of Broadcasting Governors (BBG), which manages US propaganda worldwide. BBG’s whopping 2011 budget of $768.8 million includes “a 30-minute, five-day-a-week VOA [Voice of America] Spanish television program for Venezuela”.

This increase in PSYOP and pro-US propaganda directed at Venezuela evidences an escalation in US aggression towards the region.

And the Office of the Director of National Intelligence (DNI) is still running a special intelligence “mission” on Venezuela and Cuba, set up in 2006. Only four of these country-specific “mission management teams” exist: Iran, North Korea, Afghanistan/Pakistan, and Venezuela/Cuba. These “missions” receive an important part of DNI’s $80 billion annual budget and operate in complete secrecy.

 

 

INFO + VIDEO: Operation Small Axe Now Available For Sale Online

Operation Small Axe Now Available For Sale Online

 

 

 

 

 "Operation Small Axe" takes a raw and unflinching look at life under police terrorism in Oakland. Through the stories of Oscar Grant ,Lovelle Mixon and POCC Minister of information JR Valrey, the film focuses on the occupation of Oakland's communities of color by militarized and racist police forces. Oscar Grant was shot in the back and killed by Bay Area Rapid Transit police officer Johannes Mehserle on January 1st of this year. On March 21st, Lovelle Mixon was killed by Oakland police after having allegedly shot five OPD officers, killing four.

 

VIDEO: THE ULTIMATE ROLLER COASTER RIDE: A Brief History of Fossil Fuels

Fossil fuels have powered human growth and ingenuity for centuries. Now that we're reaching the end of cheap and abundant oil and coal supplies, we're in for an exciting ride. While there's a real risk that we'll fall off a cliff, there's still time to control our transition to a post-carbon future.

And now, for your viewing and sharing pleasure we bring you 300 YEARS OF FOSSIL FUELED GROWTH IN 5 MINUTES:

 

                                                         PLAY IT! SHARE IT!

Written and narrated by PCI Senior Fellow Richard Heinberg.

Animated by the wonderful team (we highly recommend them for animation projects) at MONSTRO DESIGN.

Background beats ("Can I Kick It?") by A Tribe Called Quest

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PUB: Bristol Short Story Prize

bristol short story prize

Our short story anthologies

2011 Rules and Prize Details

20 stories will be shortlisted.

The 20 shortlisted writers will be invited to an awards ceremony in Bristol on July 16th 2011 when the winners will be announced and the BSSP Anthology Volume 4 will be launched. Prizes and anthologies will be sent to any shortlisted writer unable to attend the awards ceremony.

Prizes :

Ist- £1000 plus £150 Waterstone’s gift card

2nd- £700 plus £100 Waterstone’s gift card

3rd- £400 plus £100 Waterstone’s gift card

The other 17 writers who feature on the shortlist will be presented with a cheque for £100.

All 20 shortlisted stories will be published in both print and ebook versions of Volume 4 of the Bristol Short Story Prize Anthology.

The closing date for entries is March 31st 2011.

The maximum number of words for each story is 3,000.

There is an entry fee of £7 for each story submitted.

Stories can be on any theme or subject and are welcome in any style including graphic, verse or genre-based (crime, thriller, science fiction, fantasy, romance, historical etc.).

While there is a maximum word count of 3,000, it should be pointed out that there is no minimum.

Rules

 

1. Closing date for receipt of entries is 31st March 2011.

2. Entrants must be over 16 years old.

3. The maximum length of submissions is 3,000 words. There is no minimum length. Stories can be on any theme or subject and are welcome in any style whether it be graphic, verse or genre-based (crime, science fiction, fantasy, historical, romance, YA etc.) .

4. Entries can be made online or by post. There is no geographical restriction on entry- the Bristol Short Story Prize is open to everyone, whether they are based in the UK or outside the UK. All entries should be in English. Postal entries will only be accepted as printed typescripts. Please send postal entry/entries to : Bristol Short Story Prize, Unit 5.16, Paintworks, Bath Road Bristol BS4 3EH

5. Authors may enter as many stories as they like. There is a fee of £7.00 for each story submitted. Payment for online entries should be made via the website. Payment for postal entries should be made by cheque. Cheques must be from a UK bank and should be made payable to ‘Bristol Short Story Prize Ltd.’. Each postal submission must be accompanied by an entry form.

6. Entries will not be returned. Please keep a copy. No corrections or alterations can be made after receipt.

7. Entries must be entirely the work of the entrant and must never have been previously published or broadcast or placed in another writing competition. Any entry found to have been plagiarised will be disqualified. Simultaneous submissions are welcome - but please let us know as soon as possible if a story is to be published elsewhere or is to be placed in another writing competition.

8. Entries will be judged anonymously; entrants names should only appear on the entry form and not anywhere on their stories/manuscripts. The stories/manuscripts should be free of all personal information about the author. This includes age and address.

9. If you require acknowledgement of receipt of your postal entry then please enclose a stamped addressed postcard marked ACKNOWLEDGEMENT. Online entries will be acknowledged by email.

10. All entrants must agree to have their work published in the Bristol Short Story Prize Anthology Volume 4, in both print and ebook formats, should they be one of the authors of the 20 shortlisted stories. Authors will retain worldwide copyright on their work (including film and dramatic rights) but Bristol Short Story Prize has first publication rights to publish the 20 shortlisted stories in the Bristol Short Story Prize Anthology Volume 4, in both print and ebook formats. All entrants must, also, agree to have their story published in Bristol Review of Books magazine and Venue magazine if it wins the 2011 Bristol Short Story Prize.

11. Each of the shortlisted authors will receive 2 free copies of the print version of Bristol Short Story Prize Anthology Volume 4 and will be able to purchase further copies at a discount of 50%. All 20 shortlisted writers will receive an equal share of royalties of 12.5 % on net sales of both print and ebook versions of the Bristol Short Story Prize Anthology Volume 4. All remaining profits from the sale of the BSSP Anthology Vol. 4 will go towards developing ShortStoryVille, our short story festival, our schools' project and funding help for the Bristol Review of Books.

12. No competitor may win more than one prize. Entries will be read by a panel of professional publishers, reviewers and published writers. They will select a longlist of 40 for the named judging panel. The judging panel will select the 20 stories to be published in the Bristol Short Story Prize Anthology Volume 4 and the top 3 prize winning stories. The judges decision is final and no individual correspondence will be entered into. Judges are unable to comment on individual entries.

13. Prizes for 2011 are: 1st-£1000 plus £150 Waterstone’s Gift Card, 2nd -£700 plus £100 Waterstone’s Gift Card, 3rd -£400 plus £100 Waterstone’s Gift Card. Each of the 17 remaining shortlisted finalists will receive a cheque for £100.

14. Prizes will be awarded on 16th July 2011 and will be sent to any of the 20 finalists who are unable to attend the awards ceremony. The list of prize-winners will be displayed on the website within one week after the awards ceremony.

15. Any entrant wishing to withdraw a story from the competition before the closing date of March 31st 2011 will receive a full refund. Please contact us by email. We will not be able to refund any withdrawn stories after the closing date of March 31st 2011.

16. Entry implies an acceptance of all the Bristol Short Story Prize rules. Entries that fail to comply with the entry rules and requirements will be disqualified.

 

 

 

PUB: Writer’s Digest - Poetry Awards

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WD Poetry Awards
We are no longer accepting entries in the Writer’s Digest Poetry Awards. Winners will be notified in March 2008 and their names will appear in the August 2008 issue of Writer’s Digest.-->
6th Annual Writer's Digest Poetry Awards Competition

 

We're pleased to announce the only Writer's Digest competition exclusively for poets! Regardless of style—rhyming, free verse, haiku and more—if your poems are 32 lines or fewer, we want them all.

Entry Deadline: December 15, 2010

 

Prizes

First Place: $500 and a trip to the Writer's Digest Conference in New York City

Second Place: $250

Third Place: $100

Fourth Through Tenth Place: $25

Eleventh Through Twenty-Fifth Place: $50 gift certificate for Writer's Digest Books.

* The names and poem titles of the First through Tenth-Place winners will be printed in the August 2011 Writer's Digest, and afterwards their names will appear on www.writersdigest.com. All winners will receive the 2011 Poet's Market.

The 6th Annual Writer's Digest Poetry Awards Collection

The 1st- through 50th-place poems will be printed in a special competition collection.  Use the entry form to order your copy or purchase a copy online using a credit card. (Publication date: May 2011. You are not required to purchase the collection to enter the competition.)

 

Entry Deadline: December 15, 2010 

Click here to enter


Competition Rules

1. The competition is open to poems 32 lines or fewer. Entries longer than 32 lines will be automatically disqualified. Long poems may not be broken into segments and entered as separate entries. Each poem must be self-contained and must be titled. Style and subject matter are open. Type the line count along with your name, address, phone number and email address at the top left-hand corner of the page. No refunds will be given for disqualified entries.

2. The entry fee is $15 for the first poem submitted and $10 for each additional poem. You may enter as many poems as you wish. If you are submitting your entry via regular mail, you may send one check (in U.S. funds) and one entry form for a single entry or batch of entries. You may pay with a check or money order, Visa or Mastercard when entering online or via regular mail.  Entries received without an entry fee will be disqualified. Entry fees may not be sent after poems have been received. There will be a $10 fee for declined credit cards or returned checks. Credit cards will be charged within 90 days of the contest deadline. Charges will appear on your statement as "F+W Contests." 

3. All entries must be in English, original, unpublished, and not submitted elsewhere at the time of submission. "Unpublished" means poems may not have appeared in print or on the Internet for public consumption (i.e., poems posted on a public forum or on your Web site may not be entered). Writer's Digest reserves the one-time publication rights to the 1st through 50th-place winning entries to be published in a Writer's Digest publication, on Writer's Digest's Web site, or in other digital materials.

4. If you are submitting your entry via regular mail, all entries must be typewritten on one side of 8-1/2 x 11 white paper (computer printout acceptable) or A4 white paper. Unusual typefaces, colors, and graphics should not be used. Poems will not be returned so keep a copy for your records. No refunds will be issued for disqualified entries.

5. Entries must be postmarked by December 15, 2010. Online entries will close after midnight EST on December 15, 2010.

6. Winners will be notified by March 15, 2011. If you have not been contacted by this date, you may assume that your entry is not a finalist and may be marketed elsewhere.

7. Enclose a self-addressed, stamped postcard with your entry if you want to be notified of its receipt. We cannot notify you personally of your poem's status before the winners are announced. This includes phone and email status inquiries. If entering online, you will receive a confirmation email for each entry you submit. Please note, the emailed confirmation will come from writingcompetition@fwpubs.com.

8. Winners' names will appear in the August 2011 issue of Writer's Digest magazine. Afterwards, their names and poem titles will be posted at www.writersdigest.com

9. The following are not permitted to enter the competition: employees of F+W Media, Inc., and their immediate families and Writer's Digest contributing editors and correspondents as listed on the masthead.

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Privacy Promise
Occasionally we make portions of our customer list available to other companies so they may contact you about products and services that may be of interest to you. If you prefer we withhold your name, simply send a note with your name, address and the competition name to: List Manager, F+W Media, Inc., 4700 East Galbraith Road, Cincinnati, OH 45236.

Entry Form

To submit your entry online, visit our secure online entry form.

To enter via regular mail, use the printable form, and send it with your poem(s) and entry fee(s) to:

Writer's Digest Poetry Awards
4700 East Galbraith Road
Cincinnati, OH 45236
Click here to enter
Questions?

For questions, contact us at (715) 445-4612 ext. #13430 or email writing-competition@fwmedia.com

 

PUB: Anisfield-Wolf Book Awards :: Submission Guidelines

Portrait Image

The Anisfield-Wolf Book Awards recognize books that have made important contributions to our understanding of racism and our appreciation of the rich diversity of human cultures. For 75 years, the distinguished books earning Anisfield-Wolf prizes have opened and challenged our minds.

Cleveland poet and philanthropist Edith Anisfield Wolf established the book prizes in 1935, in honor of her father, John Anisfield, and husband, Eugene Wolf, to reflect her family’s passion for issues of social justice. Today it remains the only American book prize focusing on works that address racism and diversity. Past winners have presented the extraordinary art and culture of peoples around the world, explored human-rights violations, exposed the effects of racism on children, reflected on growing up biracial, and illuminated the dignity of people as they search for justice.

The Cleveland Foundation, the world’s first community foundation, has administered the Anisfield-Wolf prize since 1963. Before then, the Saturday Review sponsored the awards. From the early 1960s until 1996, internationally renowned anthropologist and author Ashley Montagu chaired the awards jury. That panel of globally prominent scholars and writers has since been overseen by Henry Louis Gates Jr., the acclaimed scholar, lecturer, social critic, writer, and editor at Harvard University.

 

How to Submit a Book

The Anisfield-Wolf Book Awards recognizes outstanding works that contribute to our understanding of racism and our appreciation of the rich diversity of human cultures. Awards are given for both fiction and nonfiction. Submissions are accepted beginning September 1. The submission deadline is December 31. The winners are announced in the spring. 

To submit a book for consideration, send five copies with a completed copy of the entry form to:

Laura S. Scharf
c/o Anisfield-Wolf Book Awards
700 West St. Clair Avenue, #414
Cleveland, OH 44113

Phone: 216.861.3810
Email: contactus@clevefdn.org" title="contactus@clevefdn.org" target="_blank"> contactus@clevefdn.org

Upon receipt, the books will be forwarded to the jury. All submitted materials become the property of the Anisfield-Wolf Book Awards and will not be returned. 

Eligibility:

  • To be eligible, books must be written in English and published in the previous year (i.e. books published in 2010 are eligible for the 2011 prize).
  • Awards are given for both fiction and nonfiction.
  • Works of poetry are eligible for the fiction prize. 
  • All submitted materials become the property of the Anisfield-Wolf Book Awards and will not be returned. 
  • The deadline for submission is December 31. Entries arriving after the deadline must be postmarked by December 31 to be eligible.
  • Publicity materials should not be included with the entry.
  • Confirmation of delivery receipt is not provided.
  • The following are NOT eligible for consideration:
    • Plays
    • Screenplays
    • Works in progress
    • Manuscripts
    • Print-on-demand
    • Electronically published or e-books
    • Self-published works

 

INFO: Breath of Life—Miles Davis, Ladi6, Trinity Roots + 26 Miles associated standards

No other post-bop jazz musician had been both so assertive and so influential in playing ballads. A bunch of cats still played cool but they didn’t capture the attention of young lions looking to make new music. Miles had the charisma that most of his cool contemporaries lacked. Once you heard what Miles did with standards, well, a new standard was set.

Still studying Miles. This week we feature Miles Davis playing standards. Then we hop down under to New Zealand for latest releases from Ladi6 and Trinity Roots. Then we get a bunch of artists covering the same standards that Miles covered: Nancy Wilson, Hugh Masekela, Ray Charles and Cleo Laine, Donald Harrison, Ahmad Jamal, McCoy Tyner, Lina Nyberg, Ron Carter, Dara Tucker, Gonzalo Rubalcaba, Mark Murphy, Esther Phillips, Nina Simone, Eve Cornelious, Eddie Harris, Will Downing, Ben Webster, Kenny Burrell, Shirley Horn, Bireli Lagrene & Sylvain Luc, Cassandra Wilson, The Modern Jazz Quartet, Vijay Iyer, and Inspiration.

http://www.kalamu.com/bol/

 

 

REVIEW: Theatre—Lemn Sissay | Something Dark | Mahala (South Africa)

Something Dark

Monday, November 15th, 2010 by Dave Durbach, image by James Ross

Lemn Sissay

“I had no qualifications, no experience. I had a birth certificate, and a fistful of poems. I was going to the nearest city where there were people who looked like me: Manchester! And there was no going back.”

Lemn Sissay was put into foster care by his Ethiopian mother (temporarily, she thought) while she studied in England. The boy was quickly separated from his mother, given the name of his social worker (Norman) and swallowed up by the welfare system. He was raised by a white foster family until the age of 11, believing that they were his biological parents. Convinced that the boy was bringing evil into their home, they then sent him packing, telling him he would never hear from them again.

The boy would spend the remainder of his youth in government foster homes, picking up nicknames like Chalkie White, Snowflake and Chocolate Drop. Forced to come to terms with his blackness in the isolation of lilywhite Lancashire, he was 17 before he had the chance to get to know another black person.

A year later he uncovered letters between his mother and social workers, discovered his real name (literally meaning “why?”), moved to Manchester, and began searching for his mother. At the age of 21, fame already beckoning, following the release of his emphatic debut Tender Fingers in a Clinched Fist, he met his birth mother for the first time, who told him he had been conceived by rape. Fairy-tale ending it may not have been, but for the first time in his life, he acquired something that most of us either take for granted or wish we didn’t have to deal with: a family.

Currently playing in Jozi, Something Dark is iconic British poet Lemn Sissay’s attempt to retrace his fascinating and already well-publicised life story. While both intensely personal and relatively common, the one-man play is far from a self-indulgent portrait of an artist. Nor is it simply another black westerner trying to score points in the motherland. It’s a powerful, thought-provoking and entertaining journey into the life of a man worth listening to.

Lemn Sissay

First performed in 2006, Something Dark was a long time in coming. “I’ve been writing for 20 years,” Sissay said after a recent show. “In 1988 The Guardian said: ‘Lemn Sissay has success written all over his forehead’. I knew then that any success I had would be a nail in my coffin. I understood that my story – the fact that I had to find my family – would kill me the more successful I was in other people’s eyes. I was aware of what I didn’t have, so the more things I got, the more I’d turn around and there’d be absolutely nobody there. I was utterly out of context. I knew that then, even when I was 16 years old, and I said it . . . I’ve waited all of my life to be at a particular place inside myself where I could write my story without being emotionally harmful to the audience, or to myself. I would never give you this story if I were not in a place where I could give it.”

Throughout the production, Sissay disarms his audience by blending humour with anger, often at the flick of a switch. “I’ve fought for the right to laugh, having had the experiences that I’ve had, and I don’t take laughing lightly,” he continued. “When I was younger I was often told to articulate my anger on stage, which I did very well. I made quite a lot of money through people feeling guilty. I started to get irritated that what was expected of me was an aesthetic of anger. I never believed in that and therefore rebelled against it. And I’ve continued to do that throughout my career. I’ve always struggled with acceptance on the wrong terms.”

Why did he decide to bring this story to South Africa, and how relevant is it in this country? “One side of me says I don’t have the right to project my story onto anyone, and I kind of don’t, out of respect,” he explained. “But out of respect what I can do is tell my story as best I can. And I know that there are parallels – the taking away of the name, the finding of the name. It’s a story that has been told many times.”

Having only encountered his relatives as an adult has given Sissay a distinctive take on the significance of the family. “One of the things that worked in my favour, bizarrely, is that I had no one. When I left that little village town for the city, there was nobody to call me back, nobody to call to see if I’m OK, nobody to manipulate me mentally. That’s what families are: the power of suggestion – “so when are you getting married?” That’s all family is, just groups of people that suggest things. It’s a consistent flood of that over generations. I had none of it, and I was aware I had none of it. In many ways, what could’ve worked against me worked for me. The odds of me growing into the person I am are a million to one. It’s funny how things turn out.”

Does Something Dark represent the end of this journey, or is he still seeking? “I didn’t only find a family, this dysfunctional thing, but I found myself, me: together one day, confused and messed up the next. I’m OK – I didn’t do anything wrong, nobody is to blame. It is was it is. I take each day as it comes now. I’m not great, I’m not happier than the next person, but I’m no longer to blame, and I’m no longer hurting myself. As a consequence, I’m no longer hurting others. At least I’m trying not to. So I’m happy to be a work in progress.”

Lemn Sissay

*Directed by John McGrath, Something Dark is showing at the Market Theatre’s Barney Simon Theatre until 28 November.